Adam Reifsteck: Live/Demo Recordings
7 Jun 2010
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Reifsteck: Sonatina N/A
Composer: Adam Reifsteck
Recording Date: Sat 13 Mar 2004
I fondly remember as a young boy playing Sonatinas by Muzio Clementi. It wasn’t until my second semester of my undergraduate studies that I was reintroduced to Clementi’s piano music and became intrigued by the piece compositionally. Clementi’s compositions for piano often follow the most important principle of musical form, or formal type, from the Classical period well into the 20th century—the sonata form. A piece that utilizes the sonata-form consists of three main sections with a two-part tonal structure. The first part of a movement that utilizes the sonata-form is called the “exposition.” The second part of the structure is comprised of two sections, the “development” and the “recapitulation.” The exposition divides into two groups—the first one in the tonic and a second group in another key, most often the dominant as with my piece. Both the first and second groups include any number of different ideas. The musical idea in the first group is referred to as the primary theme. The musical idea in the second group is referred to as the secondary theme, whether or not it actually is the second important musical idea or not. The development acquires material from the exposition and is typically in the key of the dominant. The last part of the development prepares for the recapitulation modulating back to the tonic. The recapitulation begins with a return to the main theme. It then restates most or all of the significant material from the exposition, but the secondary theme is now in the key of the tonic. The movement concludes either with a cadence in the tonic paralleling the end of the exposition, or in the case of my composition, it concludes with a coda following the recapitulation. The second movement, Andante, models after the minuet, or French dance. This movement is in a moderate triple meter. Historically, minuets were one of the most popular social dances in aristocratic society from the mid-17th century to late 18th. It was used as an optional movement in Baroque suites. The minuet also appears in the multi-movement form of the sonata. Minuets are usually paired with a Trio or Scherzo. In my composition, however, I did not include the Scherzo movement. The last movement models after the rondo-form. The rondo is one of the most fundamental designs in music. Its structure consists of a series of sections, the first of which (the main section or ritornello) recurs in the home key. The subsidiary sections (couplets or episodes) travel out side of the tonal center—in my piece, the relative minor—before returning finally to conclude, or round off, the composition (ABACA).
I - Allegro (3:32) N/A
II - Andante (1:03) N/A
III - Rondo (2:17) N/A
Reifsteck: Earning the Muse N/A
Composer: Adam Reifsteck
Recording Date: Sun 9 Jan 2011
When asked about the creative process in writing music, composers have often cited people, places, or a particular thing which inspire them to write. This muse gives the composer a plethora of ideas to sift through and the ability to string together thoughts, emotions, and patterns in a meaningful way. I have yet to discover what the one thing that inspires me to write is. Perhaps I have yet to earn my muse, but I have one particular compositional process which I tend to mine for ideas—dodecaphony. In the first movement of Earning the Muse, I present nine pitches of a tone row in one voice with the remaining three pitches completed by another voice. The first nine pitches reoccur throughout the movement and serve as the motivic device for the construct of the remainder of the work. While rooted in the twelve tone system, I do not take a serialistic approach. I infuse tonal influences with advanced chromaticism. The second movement is a meditation on the sonic possibilities derivative of combining various permutations of the original row form. On the surface it would seem that the music would be therefore void of harmonic progression and would result in nonsensical clusters of sound. Yet, I am amazed at the possibilities of finding natural sonic progressions. After all, a harmonic progression is merely a series of musical chords that "aims for a definite goal" of establishing (or contradicting) a tonal center—in this case a movable tonal center. In writing this piece, I came to the realization that while the twelve tone system strives to make all pitches equal, some pitches are more equal than others. The final movement of Earning the Muse explores this realization. In this movement, the full chromatic is used and constantly circulates, but permutational devices are ignored. Additionally, permutational devices are used but not on the full chromatic. Furthermore, overtly tonal progressions are also employed. Any form, aesthetic unity, and linear progressions which are perceived when hearing the work in its entirety has developed naturally by following this personally intuitive compositional method.
I - Invocation (3:41) N/A
II - Meditation (2:47) N/A
III - Revelation (3:07) N/A
Reifsteck: Three Sunsets
Three Sunsets (22:13) N/A
Reifsteck: Prelude and Fugue in G minor
Composer: Adam Reifsteck
Recording Date: Thu 7 Apr 2005
Prelude and Fugue in G minor (2:42) N/A
Reifsteck: Resistance Underneath Biomechanical Sentinels N/A
Composer: Adam Reifsteck
Ensemble: Gaudete Brass
Recording Date: Fri 4 Nov 2011
"Resistance Underneath Biomechanical Sentinels" for brass quintet is a three movement, eleven minute composition written during the summer of 2011. Commissioned by the Gaudete Brass Quintet, the work received its premiere performance on November 4, 2011, at Roosevelt University in Chicago, IL. The idea for this work came after I attended the "Art from Detritus: Recycling with Imagination" exhibit in April 2011 at the Williamsburg Art & Historical Center in Brooklyn, NY. The works by the artists featured in this exhibit were made solely from recycled materials and trash and conveyed the importance of recycling and “upcycling” with the goal of showing that through its materials and techniques, art helps our environment. The provocative images associated with some of the works referenced an environment in which mechanical objects interact with nature to create beautiful, and often disturbing, ecosystems. While these installations did not directly influence the way in which the musical language of my composition was constructed, the works inspired me to consider the interaction between mechanical objects and humans and how they interrelate through musical expression. Unlike in the visual arts where works are constructed to exist in space, a musical composition exists through the development of sound over a specified period of time. Therefore, the intended meaning of the work becomes less obvious. The title, "Resistance Underneath Biomechanical Sentinels," invites the listener to experience the human relationship with industrial technology as a conflict or an adventure beyond the physical realm. In other words, it is through the physical connection with their instruments that the musicians become biomechanical sentinels to convey the emotional ties with the musical sounds that are created with these mechanical objects.
I - Attraction (3:48) N/A
II - Anxiety (3:41) N/A
III - Obsession (3:12) N/A
Reifsteck: Questions Unanswered
Composer: Adam Reifsteck
Recording Date: Thu 7 Jun 2012
Questions Unanswered (4:51) N/A
Reifsteck: Inwood Hill Park
Composer: Adam Reifsteck
Recording Date: Thu 7 Jun 2012
Inwood Hill Park (5:43) N/A
Reifsteck: Vortex
Composer: Adam Reifsteck
Recording Date: Thu 4 Apr 2013
Vortex (7:07) N/A
Reifsteck: Fragmented Fractals
Composer: Adam Reifsteck
Recording Date: Sat 19 Jul 2014
Fragmented Fractals (8:33) N/A
Adam Reifsteck
Partner Since: 23 Mar 2010
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